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^ JOHN HENRY NASH LIBRARY ^ 

<e> SAN FRANCISCO <e> 

PRESENTED TO THE 

UNIVERSITY OF CALIFORNIA 

ROBERT GORDON SPROUL, PRESIDENT. 

Mr.andMrs.MILTON S.RAV 
CECILY, VIRGINIA AND ROSALYN RAY 

AND THE 

RAY OIL BURNEROOMPANY 

SAN FRANCISCO 
NEW YORK 



Digitized by the Internet Archive 

in 2007 with funding from 

IVIicrosoft Corporation 



http://www.archive.org/details/bookplatesofamymOOsackrich 



BOOK PLATE5 



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CBarfes (^^oodspeed 



BO>STON 
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NEVER since the beginning of the book- 
plate have there been so many women 
designers in this branch of art as there are 
to-day» Poor and illy-made designs are largely 
in evidence among the men designers, and it is 
only too trtte that the women who have essayed 
in this field are still more afflicted with dearth 
of ideas and weakness of execution, but among 
the very large number of women who have 
^z:^\%ViZ.6^ book-plates although many of them 
are amateurish, and undertaken in a spirit of 
dilettanteism, there are a great many showing 
a ^zxivizA ability and knowledge of art* 

In the csitlict days of the cult the first woman 
designer of prominence was Anna Berry, who 
has left us at least one plate, that of her friend 
Anna Damer, that can be safely ascribed to her. 



Beyond this lady, and Margaret Este, whose 
name appears on a plate dated J 774, or some 
nineteen years earlier than the Damer plate, 
England seems to have had no women designers. 
But in France there were many, perhaps the 
most prominent, as well as most prolific, being 
Louise de Daulceur, who engraved quite a few 
plates for Bonchardon, Pierre, Gravelot and 
Eisen, in a very acceptable manner* Madame 
Jourdan is also noted as a designer of plates, 
as well as Therese Crochery, Charlotte Nonot, 
and others* Mention should also be made of 
Mme* Pompadour, who designed and etched the 
little label for her library at Crecy* 

To-day women designers constitute a factor 
to be considered* The old fallacy that their 
work shows the impress of the eternal feminine 
in their lack of strength, boldness and character 
has been exploded* There are any number of 
women designers now whose work if placed 
alongside that of the sterner sex we would find 
it difficult to distinguish one from the other* 

Miss Sacke/s work seems to be, at least in 
her book-plate drawings, of sufficient boldness. 
Her designs are strong and virile and the pro- 
duct of a practiced hand. They are in no way 
amateurish but show the impress of good train- 
ing and hard study. The decorations, on the 
other hand, are somewhat feminine in spirit and 



execution^ and in this wise form a fitting foil 
to the inevitable boldness of the book-plates* 
While there is a certain sameness to be fotind 
among the plates in the manner of treatment, 
one would hardly call this a fault when placed 
against the excellence of the designs themselves, 
and in fact, in these days of specialization, when 
even artists and designers endeavor to work out 
for themselves a peculiar style and technique, 
this is a feature that would excite little if any 
adverse criticism, and it is best by all means for 
designers to draw in that style in which their 
drawings will appear to the best advantage 
when viewed as separate studies, as they were 
intended, rather than to jump about from one 
form to another for the sake of variety, and 
master of no style. At least the blacks and 
whites are well balanced and form effective 
contrasts as they should* 




TWELVE BOOK-PLATES 
BY AMY M. SACKERe^ 



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